Music in Russia in the XVIII century

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1702: Kunst's German troupe gives musical performances on Red Square

In 1702, an ordinary troupe of entrepreneur Johann Kunst arrived in Moscow, who gave dramatic and musical performances in German for several years on Red Square in a specially built "comedy choir" for such an occasion. Then a long break followed in the development of such performances (1706-1731).

1710: "Boris Godunov" by Mattheson is the first ever opera on a Russian plot

№	Authors	Title	Comments
1	Johann Mattheson	Boris Godunov, or Boris Goudenow	The first ever opera on a Russian plot (1710, Hamburg). Probably, the author's interest in the Russian theme was associated with the victory of the army of Peter I at the Battle of Poltava. The opera was not staged until 2005.

Attempts to find historical truth in the plot of the opera are doomed to failure.

Libretto:

Tsar Fyodor Ioannovich is mortally ill. Supporters of Boris Godunov believe that he should inherit rule in Russia. But a certain foreign prince Josennakh, seducing two girls from influential boyar families at once, Princess Olga and Godunov's daughter Axinho, hopes to seize the Russian throne with the help of one of them. However, the plan of the maligned prince has been exposed. Godunov is crowned with the kingdom, and three couples close to the court arrange their future.

1731: "Calandro" by J. Ristori is the first comic opera staged in Russia

The opera of the Venetian composer J. Ristori "Calandro" is one of the first buff operas (to the libretto by S. Pallavicino) staged at the Russian court in the 18th century. The opera premiered in Dresden in September 1726, by order of Maria Josefa at a residence in Pilnitsa. The production was a success and was repeated two years later for the carnival season. The Prussian crown prince - the future Frederick the Great - liked her so much that "he asked himself for a score." A few years later, in December 1731, during the Dresden troupe's stay in Russia, it sounded in Moscow, on the stage of the Kremlin Theater, becoming the first Italian opera presented at the Russian imperial court during the reign of Anna Ioannovna.

1735

The first period of Francesco Araya's work in Russia

Representative of the Neapolitan Opera School. Since 1729, Francesco Araya's operas have been performed in different cities of Italy.

The first Russian opera composer - Neapolitan Francesco Araya - appeared in St. Petersburg as a result of an absentee competition with his eldest brother, the famous Nicolo Porpora. Almost simultaneously with both composers, an agreement was reached to come to Russia, but a contract was also signed with Araya. So describes in a letter to Antiochus Kantemir this competition for the replacement of a new position at the Russian court, Marshal Count Levenwold, then the "Minister of Culture":

"I would have had the privilege of informing you of myself for a long time if the answer I expected in Italy from Araya had come earlier; finally, with the last post, I received it, but, unfortunately, not as I would like. There is absolutely no means to honestly get rid of this master. Since his contract has already been signed, he thinks that his reputation will be tolerated if he retreats from the word given to him, so things cannot be corrected. I am very sorry about this, because I am currently deprived of any opportunity to think about the city of Porpore. "

In 1735, Araya, at the head of the Italian opera company, came to St. Petersburg, where he worked until 1738. Araya's opera "The Power of Love and Hate" ("La Forza dell'amore e dell'odio," 1734) is the first opera series staged in Russia (1736, court theater, Petersburg). It was followed by "The Feigned Nin, or Recognized Semiramid" ("La Finto Nino o la Semiramide riconosciuta," 1737) and "Artaxerxes" (1738).

Domenico Dall'Ollo begins work in St. Petersburg

Domenico Dall'Oglio is a composer and violinist, born in Padua, Italy. He was probably a pupil of Giuseppe Tartini either after 1721, when Tartini was appointed maestro of the chapel in the Basilica of St. Antonio in Padua, or perhaps after 1726, when Tartini founded his violin school.

In 1732, Dall'Oglio was appointed violinist to St. Antonio's Basilica, but in 1735 he left Padua to travel to Russia with his brother Giuseppe, a cellist. Both brothers remained in St. Petersburg for almost 29 years in the service of the imperial court. He is a violin teacher and friend of Peter Biron. Court records often mention Domenico's activities as a virtuoso violinist and composer, and as a participant in court intrigues.

Dall'Ollo was the first to write two synphonies on Russian themes, "Cossack" and "Russian."

For rest, he loved to make musical instruments - violins and lutes. He died in Narva, Estonia, on his way back to Italy.

№	Authors	Title	Comments
1	Domenico Dall'Ollo	Sinfonia "Cossack"	1740s At this time, the spouse of Elizabeth Petrovna was hetman Razumovsky, which made everything Little Russian fashionable.

1736: " The Power of Love and Hate" - the first opera series staged in Russia

"The Power of Love and Hate" ("La Forza dell'amore e dell'odio"), music by Francesco Araya, libretto by Francesco Prata - the first seria opera staged in Russia, St. Petersburg, 1736. The first libretto was translated by Trediakovsky. In some sources, this opera is called by the name of the main character "Abiazare" (Abiazar ").

1737: "Feigned Nin, or Recognized Semiramid" - the first large opera series written in Russia

Francesco Araya - Pietro Metastasio, the first major opera seria written in Russia in 1736, and staged in St. Petersburg in 1737.

1739: Timothy of Belograd

If we talk about the forerunners of the Storm and Onslaught style, then early sprouts can be heard already in the first part of the Concert for Violin by Signor Kazak. Researcher Andrei Penyugin believes that under this name, the notes of the composition indicate the Russian musician Timofey Belogradsky. The concert was written in the late 1730s, when Belogradsky was sent to study from St. Petersburg to Dresden.

1743: Elizabethan collection of parts

Empress Elizaveta Petrovna was the owner of a wonderful dishcant (soprano). Historian Daniil Mordovtsev gave an example when Elizabeth, being a princess, signed in correspondence "the first dischkantist." She sang the parts of the first discant in concerts with court singers, which were the subject of her great interest and constant worries. "As a Grand Duchess, the Empress was especially zealous for church service and had great pleasure in church music, which she had been trained since her youth," Jacob Shtelin pointed out in his News of Music in Russia. Teaching church singing was considered mandatory among tsarist children from pre-Petrovsky time. Stelin reported that a small chapel adjoined the empress's rooms in the palace, where the empress "participated in the performance of the most difficult motets and performed with the most skilled singers."

As Yulia Demidenko, a leading researcher at the State Museum of Fine Arts, wrote, the repertoire of Elizaveta Petrovna can be judged by her musical books, known from literature since the 19th century, but discovered only in 2018. This is 16 volumes in silver binders by jeweler Nikola Don - a collection of part concerts for 16, 12, 8 and 6 voices, as well as backstop and filmmakers (there are more than 70 works written by Russian composers: Vasily Titov, Gerasim Zavadovsky, monk Leonty and hierodeacon Isaur).

Those who got from the Great Church of the Winter Palace to the Russian Museum after the revolution are now kept in different collections: 14 - in the Russian Museum, and two more - in the Hermitage and in the Tretyakov Gallery.

The richly decorated volumes were made for the first anniversary of the coronation of the empress, which was celebrated in 1743 with "three-day celebrations." During the celebrations, an unusual concert with the participation of the empress herself probably took place.

1744: Araya returns to Russia

In 1744, Francesco Araya again arrived in Russia. For the St. Petersburg court scene, he wrote (on the libretto of the Italian poet D. Bonecchi, who served at the Russian court) operas:

• "Seleucus" (1744),
• "Scipio" (1745),
• "Mithridates" (1747),
• Bellerophon (1750),
• "Married Eudoxia" ("Eudossia incononata," 1751),
• allegorical. pastoral "Refuge of the World" ("L'asilo della pace," 1748), the action takes place in the Russian countryside.

Araya wrote the music for the first opera libretto in Russian by A. P. Sumarokov "Cephalus and Prokris" (1755, the opera was performed by Russian artists). Stylistically, this opera does not deviate from the traditional cliches of the Italian opera series.

Araya's last opera, staged in Russia, is "Alexander in India" (1755).

In 1759, Araya returned to his homeland. He once again visited Russia in 1762 in the hope of getting a job at the court of Emperor Peter III. Araya's works include oratorios, cantata, sonata and capriccio for clavichembalo, etc.

About where, in addition to the CMB, notes of operas by Francesco Araya are stored, you can read in the article by Sofia Kaikova "Francesco Araya in Russia (source study aspect)" in the journal "Musicus," bulletin of St. Petersburg State University named after N. A. Rimsky-Korsakov.

1746: Dinners during opera performances

Opera performances during the time of Empress Elizabeth Petrovna lasted for hours. So that hunger does not deprive the crowned listener and her guests of the pleasure of music and spectacle, opera performances could well be accompanied by dinner. For example, on December 21, 1746, at six o'clock "for the most solemn celebration of the birth of her imperial majesty," the opera "The Mercy of Titus" was performed, and in "the continuation of the opera, her majesty deigned to eat evening meals in her box with the Countess of Hesse-Homburg, with some state ladies and gentlemen in 14 persons. And their imperial highnesses in the box of their imperial majesty, which is against the theater (i.e. the stage), deigned to eat with foreign ministers... The opera continued past midnight. "

1747: Ivan Handoshkin was born

The future founder of the Russian violin school, Ivan Evstafievich Handoshkin, was born in 1747.

1751

Creating the first horn orchestra

Gofmarshal Semyon Kirillovich Naryshkin instructs Czech Jan Maresh to transform his "jaeger music" into a horn orchestra - a unique phenomenon of Russian musical thought.

According to the hypothesis of musician and researcher Andrei Penyugin, Tommaso Traetta, an Italian composer who worked in Russia, was the first to use the horn in the score. So, in the final scene of his opera "Antigone" there are two very strange fragments. In the midst of general jubilation, a small minor episode appears for three voices. The voices in the score are identified as Corni di Bosco. I.e. either forest or wooden. Probably, we are talking about wooden horns, the horns of which are enclosed in a resonator box (this design was described by Stelin). Thus, Traetta could hint that the happy ending of Antigone in the libretto of Coltellini is only a mask hiding the tragic ending.

There is a mention that when performing Alceste Raupach in the 1770s, wooden horns were used (apparently for scenes in hell).

The apparent use of horn music appears in the scores of Eustigneus Fomin and Sarti.

Born Dmitry Bortnyansky

On October 28, 1751, the future composer Dmitry Bortnyansky was born in the city of Glukhov.

Condemnation of playing instruments in the Rules Theodosian

The rules of Theodosian of 1751 condemn singing songs playing Vargans and pipes and participating in dances: "these are 500 bows to the earth." "Song and dance from Satan," the Old Believers say; proverbs were formed:

• 'God gave (or: created) a priest, a buffoon devil ',
• 'No candle to God, no dude! '

These juxtapositions are curious, as evidence of the ancient religious significance of buffoonish games and music.

The verse about the Last Judgment contains such an appeal to sinners: 'you played in a gusli-pipe, jumped, danced - all for the sake of the devil'; in the verse about the sinful soul it is said that she danced a lot to all sorts of games, Satan sang samago.

The lube paintings do the same look; so in the picture depicting the death of a sinner and his torture by demons, one scene is presented, the content of which is visible from the following caption: 'And speak Satan (sinner): he loved to eat in the world various fun, games; bring him the trumpeters. Besi, at first, blow fire into his ears; then from the ears, from the eyes, from the nostrils, pass through the flame of fire '.

1755

Rococo in music

Rococo (French: rococo, also rocaille - rockail, from the name. the ornamental motive of the same name; rocaille musicale - musical rockaille) - style in European art 1st floor. 18th century. Arising in France in the era of the crisis of absolutism, Rococo's style reflected a desire to move away from reality into the sphere of careless play and pleasure. Rococo art, marked by features of intimate chamber, cultivated a special world of fragile, gently graceful or flirtatiously sketchy images of a bucolic, gallant, salon character. It is inherent in the whimsical sophistication of the lines, the fractionality of the drawing, the wide development of the ornamental and decorative principle. In music, this was manifested in the abundant use of melisms (French. agrments, German manieren), which formed an integral part of the melodic line; the texture was distinguished by ease and transparency, a homophone warehouse dominated, elements of polyphony were used very economically and sparingly. Rococo art is characterized by a departure from monumental forms of baroque. The term "rococo" is equivalent to the definition of a gallant style, wrote Yu. V. Keldysh.

Danila Vedernikov: Baroque is a reflection on the death and fleeting of life, Rococo is a reflection on the fleeting and variability of human feelings.

Klaus Abromait: Any Baroque work is a statement. Any rococo statement is a question.

Cephalus and Prokris - the first opera in Russian

№	Authors	Title	Comments
1	Alexander Sumarokov - Francesco Araya	Cephalus and Procris	The first opera written in the original Russian text and performed by Russian actors. 1755 Rococo.

Theater opened in the Picture House in Oranienbaum

Main article: Picture house in Oranienbaum

1758: Composer Peter Skokov was born

Skokov, Peter Alekseevich - Russian composer. Born in 1758. He was brought up at the St. Petersburg Academy of Arts and studied architecture; from an early age he showed extraordinary abilities for music, which he studied in St. Petersburg with Luini, and then was sent to the state account to continue his musical education in Italy (in Bologna), where he studied music for twelve years, having completed his education with Padre Martini.

Skokov owns a cantata written during a trip to Europe by Grand Duke Pavel Petrovich and Maria Feodorovna. In 1788, a drama with Skokov's music was published in Naples under the title: "Il Rinaldo. Dramma per musica, rappresentarsi nel Real Teatro di S.Carlo nel di 4 Novembre 1788. In Napoli 1788 "(on the 22nd page of this edition printed:" La Musica é del sig. D. Pietro Skokoff Maestro di Capello Russo"); for this music Skokov received "such an award as given to the first and most famous music writers."

In 1794, at an emergency meeting of the St. Petersburg Imp. The Academy of Arts on the occasion of the appointment of the "successor to the president" of the city. A.I. Mussin-Pushkin performed a solemn choir with the music of Skokov. At one time, Skokov was the bandmaster of the imperial theaters.

1759: Joseph Starzer begins composing music for ballets in Petersburg

Josef Johann Michael Starzer (1726, according to other sources, 1728-1787), Austrian composer, violinist. Since 1752, ballet composer and violinist in the Vienna "Burgtheater," at the same time since the mid-1750s. at the "Kerntnertortheater."

He collaborated with choreographer Franz Hilferding, who staged, among others, his ballets Cupid and Psyche (1752) and The Generous Turk (in honor of the visit of the Ambassador of the Ottoman Empire to Vienna, 1758).

Since 1759, following Hilferding, he moved to St. Petersburg, where he composed music for ballet performances.

On April 29, 1759, the ballet troupe of the Oranienbaum Theater of Peter Fedorovich showed a two-act ballet, "Chinese Imperial Wedding." The music for this performance was written by Joseph ^[1]. Court ladies and gentlemen participated in the performance.

Since 1763, the bandmaster was responsible for organizing court concerts, the programs of which included works by composers of the Berlin and Mannheim schools, K.V. Gluck.

Among the ballets staged in St. Petersburg:

• "Flora's Victory over Boray" (1760, choreographer F. Hilferding),
• "Court of Parisov" (1761, choreographer F. Kaltsevaro),
• "The Ridiculed Village Senor,"
• "Revenge of the God of Love" (both 1762),
• "Acis and Galatea" (1764, all - choreographer Hilferding).

Returning to Vienna in 1765, collaborated with J.-J. Noverrom (ballets Don Quixote, 1767/1768, Roger and Bradamanta, 1771, etc.), G. Angiolini (ballets Sid, 1774, Montezuma, or the conquest of Mexico, 1775, etc.).

One of the founders and bandmasters of the Vienna Society of Musicians (Wiener Tonkünstler-Societät, 1771). The author of instrumental music (symphonies, divertissements).

1760: Boom of private orchestras and chapels in Moscow

In St. Petersburg, the center of performing culture was two court orchestras, consisting of the best invited foreign musicians and the most talented domestic ones. In Moscow, as the researcher Pavel Serbin notes, there was a different model - private orchestras or chapels dominated here. Between 1760 and 1810, there were at least 20 orchestras in the old capital, providing their owners with both applied musical entertainment (operas, ballets, dance music) and purely intellectual, "abstract" compositions performed in the living rooms and more intimate rooms of the owners. Concerts were of increasing interest - both public ones held in large halls of the city (for example, the Rotunda of the Petrovsky Theater), and intended for a narrow circle of listeners, among whom were representatives of aristocratic families, merchants, foreigners. In this circle, we could meet music lovers who owned different instruments, kept orchestras, music libraries with them, hired music teachers for themselves, their children and serfs - in a word, people who certainly understood music: deaf to art would not invest huge funds in the maintenance of musicians.

Was it fashion? Partly yes, but it was thanks to her that the phenomenon of Moscow orchestras arose. In addition to the traditional bandmaster, foreigners worked in key positions in these orchestras (most often Germans, Czechs, Poles or Hungarians, less often Italians and French); the rest of the musicians were recruited from the serfs. The question is natural: is it possible to educate a whole orchestra of people forcibly attracted to music? The answer is not so obvious. The fact is that the orchestras got the most talented boys, already selected earlier as singers, i.e. learning to play the instrument did not happen from scratch. Otherwise, serfs were sent to other jobs. The set of singers (in the future instrumentalists) was produced in regions famous for the quality of voices and musical traditions - Ukraine (southern regions of the Russian Empire) and former Polish lands. Often orchestras became part of more expensive and complex "spectacles" - serf theaters.

Among the famous private orchestras in Moscow, the chapel of Peter Borisovich and Nikolai Petrovich Sheremetev stood out. The documents of the Sheremetev archive indicate that the count sent the best serfs to St. Petersburg for classes with foreign virtuosos of the First Court Orchestra. As a result, by 1782 the orchestra was famous as the best in Moscow. Following him was the chapel of Count Vladimir Orlov, formed on a similar principle. In addition to private chapels in Moscow, there were orchestras at opera houses, for example, the Petrovsky Theater Orchestra (Meddox Theater) or the orchestra at the Educational House, created in the early 1780s by Ernst Vanzhura. As a result of the competition, foreign bandmasters moved from one owner to another, the latter tried to attract the best foreign virtuosos (most often the first violinists, cellists and oboists), domestic bandmasters appeared, the quality of the game of domestic instrumentalists improved. Alas, there was an ugly practice of buying and selling talented serfs from the point of view of human freedoms - the owner of the game on the instrument was estimated more expensive.

1761: Eustigneus Fomin was born

Russian composer Fomin Evstigney Ipatievich was born on August 16, 1761 in St. Petersburg, the son of a soldier of the Gunner of the Tobolsk Infantry Regiment.

1762: Franz Xavier Körzl in the service of Cyril Razumovsky in Baturin

The founder of the Kerzelli dynasty of Austrian musicians, Franz Xavier Kerzl, ended up in the Russian Empire in 1762, first in the service of the hetman Count Kirill Razumovsky in Baturin, and then in the old capital. All four of his sons became musicians. See below.

1764: Sensation of the first French comic opera

The French composer Francois Andre Filidor became famous for staging the first comic operas in Paris, which were based on funny stories from everyday life, its heroes were not ancient gods and ancient rulers, but simple mortals - villagers and soldiers. Philidor's first such opera, The Blaise Shoe, was staged in Paris in 1759. The composer's comic operas quickly won success; premieres took place in the French capital and in London.

In 1764, Philidor's comic opera was first shown on the Russian stage: the French opera company J. P. Reno, who arrived in St. Petersburg at the invitation of Catherine II, presented "The Blacksmith" (the Paris premiere took place on August 22, 1761). The screening of this opera became a sensation for the audience of the court theater, accustomed to the Italian opera series. Not all viewers were able to immediately imbue with the aesthetics of the new genre. Contemporaries noted: the opera "some did not like it; that reason... the fact that we are accustomed to the spectacles huge and magnificent in music, to the taste of Italian, and here, except for simplicity in music and in the theater, except for forges, blacksmiths and blacksmiths, there was nothing. " Despite the initial surprise of the audience, subsequently Filidor's operas were very popular in Russia, in the 1760-1770s they were staged many times both in St. Petersburg and in Moscow by Natalia ^[2] 63.

1765

Galuppi's arrival in Russia and his subsequent influence on church music

In 1765, the Italian composer Baldassare Galuppi arrived in Russia from Venice . Subsequently, he had some influence on the church music of Russia directly through his choral works and indirectly, through the training of Dmitry Bortnyansky. Perhaps his some influence on the music of Maxim Berezovsky.

Luigi Schiatti begins work in the court orchestra and composes music

In 1765 (and according to other sources in 1760), Luigi Schiatti arrived in Russia and began working in a group of violins in the court orchestra of Catherine II. It is believed that Schiatti's arrival in Russia was associated with the appointment in 1765 as bandmaster of the court orchestra Baldassare Galuppi, who sharply criticized the state of the orchestra and demanded its immediate strengthening. However, the claim that Galuppi personally invited Schiatti to perform his works in high quality is not documented.

Schiatti left Russia in 1790. He died around 1805. His works were forgotten, and a significant part of them were lost.

1767: Sebastian Georges appears in Moscow and works for the Razumovsky family

The loss of most private music libraries led to the fact that manuscripts that existed in one or two copies and circulated between the private chapels of Moscow died in the fire of fires and wars. In the last third of the 18th century, Moscow music publishing took its first steps (in 1771-1774, Christian Ludwig Wever, a printer at Moscow University, acquired the latest typeset musical font), the market for printed musical products had not yet developed, so orchestral and chamber instrumental music was still mainly distributed in manuscripts.

However, "manuscripts do not burn," and at the cost of great effort, time and happy coincidence, researcher Pavel Serbin managed to find and restore several dozen chamber, orchestral and vocal-instrumental pieces written in Moscow in the last quarter of the 18th century. One of the most valuable finds of the second half of the 2010s was the creative heritage of the composer, clavirist and entrepreneur Sebastian Georges.

A native of the German city of Mainz, Sebastian Georges appeared in Moscow no later than 1767 and actively worked here until the mid-1770s.

In Moscow, Georges settled in the White City in Kislovskaya Sloboda, where he has long been kisloshniki lived, supplying salting to the sovereign's court (sour cabbage, cucumbers, kvasses). They had the parish church of the Great Martyr Dmitry Solunsky in Nikitsky Monastery on the corner of Bolshaya Nikitskaya Street and Bolshaya Kislovsky Lane (1629). As Pavel Serbin found out, Georges's house was next door to the possessions of Count Alexei Kirillovich Razumovsky (1748-1822). These possessions are known today to a greater extent as the Big Vozdvizhensky and Corner Houses of the Sheremetevs.

In the early 1770s, Georges was associated with the Razumovsky family, in the archive of which unique manuscripts of his works were preserved - trios, quartets, quintets, symphonies and concert symphonies. This music, which has high artistic advantages, is comparable to the legacy of I.H. Bach (1735-1782). It is possible that Georges also performed some bandmaster duties with the Sheremetevs, for example, there is evidence of his composing a cantata for the birthday of Count Pyotr Borisovich and the marriage of Alexei Razumovsky with Varvara Sheremeteva (both 1774).

1768: Tommaso Traetta - operatic reformer

In 1768, as chief court bandmaster, Galuppi was replaced by Tommaso Traetta (1727-1779), one of the most prominent representatives of the Neapolitan opera tradition. Traetta's invitation to Petersburg immediately put the Russian capital in a series of the largest opera centers, which were not alien to opera experiments. Read more here.

1769

Maxim Berezovsky leaves for a degree in Italy

In 1769, composer Maxim Berezovsky left for Italy to obtain a degree at the Bologna Academy of Padre Martini.

Composer Alexei Titov was born

Alexey Nikolaevich Titov (July 12, 1769 - November 8, 1827) - Russian military (major general) and composer from the Titov family.

Titov was an amateur composer, his house was one of the centers of the St. Petersburg musical, literary and theatrical world. He wrote many operas, of which some were once staged on the Russian stage and played including in Paris.

The most important of these are:

• "The Brewer or the Concealing Spirit,"
• "The trial of King Solomon" (words of S. Glinka, set under Paul I),
• "Yam" (words of Knyazhnin, staged in 1805),
• "Cupid-judge, or Dispute of the Three Graces" (words Knyazhnin, 1805),
• "Nurzahad" (words Knyazhnin, 1807),
• "Maiden, or Filatkina wedding, consequence of the Pit" (words Knyazhnin, 1809),
• "Emmeric Tekelius" (1812),
• "Feast of the Mughal, or the Triumph of Olimar" (1823),
• "Minute delusion" (words by S. Glinka),
• "Natalia boyar daughter" (words of S. Glinka),
• "Tatiana is beautiful on the Sparrow Hills,"
• "Soldier and Shepherd,"
• "Gullible"

Some of these works, however, are attributed to his brother Sergei or both of them. It is Alexei who probably owns the opera "These are the Russians, or the Courage of the People of Kyiv" (the words of Knyazhnin, staged in 1817).

The author of music for the tragedy ballet "Blanca, or Marriage from Vengeance" (1803).

1770: Daniel Kashin was born

Daniil Kashin came from the courtyards of General G.I. Bibikov, who provided him with the opportunity to study with Giuseppe Sarti and then released him in 1799. The year of birth of researchers is indicated in different ways; in the Confessional Gazette of the "Church of the Resurrection of Christ that the New One was folded" for 1793, the "courtyard general Bibikov G. I. Danil Nikitin, 22 years old" is indicated - that is, the year of his birth was 1770 or 1771.

Kashin worked at Moscow University, where he held grandiose concerts with the participation of a huge choir (up to 300 people) and an orchestra. In 1805-1809, Kashin published a music magazine in which songs dedicated to the empresses were published (they, like the parts in Martin-i-Soler's operas, were also performed by E. Sandunova).

The library of the St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov contains the notes of the "Military Song" by Daniil Kashin, published in 1813.

Military Song ["Defender of Petrov City"] in honor of General Count Wittgenstein dedicated to the Brave Soldiers evo Danil Kashin [for voice, choir and f-p.]. Petaya G-m Sinister in the Public Concert. - St.Petersbourg: Chez Dalmas, Editeur de musique, [1813]. - 7 s.; ill.; 34.8x26cm. - n.d. 541 Rev. № 213804

Notes: 1) dated to: First addition to St. Petersburg. ved. - 1813. - April 8 (No. 28). - SZP; 2) illustration (title, l.) - a portrait of Gr.Wittgenstein (in profile) surrounded by military attributes, whom the allegory of glory crowns with a laurel wreath.

At the end of his life, Kashin published three large collections of his treatments of folk songs.

1772

Ivan Kerzelli in Moscow

Ivan (Johann Joseph Kalasantius) Kerzelli, the elder brother of Mikhail Kerzelli, already in the 1770s became a bandmaster in demand in Moscow and worked in the capital for a total of 55 years. According to researcher Pavel Serbin, the fate of Ivan Frantsevich's legacy did not work out in the best way: most of his works were missing, and researchers of the 20th century characterized the composer's music as nothing more than not of artistic value, which is surprising, since his fragmentary preserved plays were practically not available for study. Between 1772 and 1800, Ivan Kerzelli composed and directed at least 20 stage works: comic and lyrical operas, interludes and prologues exclusively to Russian librettos by Moscow playwrights and writers (V. Maikov, N. Nikolaev, V. Kolychev and V. Levshin). All Kerzeliev operas were extremely popular and ran on the stages of metropolitan and provincial theaters. Of these works, we have partially only four, including the sidebar of the Village Vorozey, published in a rather unsuccessful clavier arrangement in Moscow (1778). The overture to it is undoubtedly of interest as an example of early Russian symphonism and the style of "storm and onslaught" on domestic soil. Frantic "hellish" images coexist with bright, well-remembered lyrical themes. The design of the overture resembles the Italian opera symphony, since there is a small but independent Andante in development. At the same time, Kerzelli uses the most progressive version of the sonata form for the late 1770s. One can only guess what exactly prompted the composer to write such a serious "Glucist" play for an unpretentious comic interlude.

At the beginning of the 19th century, Ivan Kerzelli became the chief bandmaster of the Petrovsky Theater (the future Bolshoi).

Born Nikolai Leontyev

In 1772, diplomat, engineer and composer Leontiev Nikolai Nikolaevich was born.

1776: Giovanni Paisiello is the chief bandmaster of the court. The heyday of the opera buffa

In early September 1776, composer Giovanni Paiziyello arrived in St. Petersburg, appointed chief bandmaster of Catherine II.

1777

Stepan Davydov was born

Main article: Davydov Stepan Ivanovich

Gabriel Rachinsky was born

Main article: Rachinsky Gabriel Andreevich

In 1777, the future violinist and composer Rachinsky Gabriel Andreevich was born in Novgorod-Seversky (Russian Empire).

Production in Moscow of D. Zorin's opera "Rebirth"

On January 8, 1777, in Moscow, the opera "Rebirth" was presented to the libretto by M.A. Matinsky and the music of Dementy Alekseevich Zorin, staged by a troupe that did not yet have its own premises. From the Red Pond, she is transferred to Vorontsov's house on Znamenka, where "Rebirth" was first sounded.

Sebastian Georges moves from Moscow to St. Petersburg

In 1777, Moscow bandmaster Sebastian Georges moved to St. Petersburg. In 1778, he opened a shop in the capital selling notes, all kinds of musical instruments and... wines. Georges also trained orchestras and lovers of clavier, composed music, including a concert symphony intended for an unusual composition of soloists - two flutes, two violins, viola and cello and orchestra. The play was popular and included in the collections of music libraries of many private chapels.

1778

Opera "Alkyd" Bortnyansky in Venice

№	Authors	Title	Comments
1	Dmitry Bortnyansky	Alkyd	Opera allegory. First production: Venice, 1778

Johann Heinrich Facius settled in Moscow

Cellist Johann Heinrich Facius settled in Moscow from 1778. He composed and published music in Russia. Since 1780, he received a place in the chapel of Count Sheremetyev.

1780

Opening of the Bolshoi Petrovsky Theater of the Englishman Meddox in Moscow

Main article: Bolshoi Theater

After his unsuccessful attempt to build a theater on behalf of Empress Catherine II, Prince Urusov transferred the affairs to his companion, the English entrepreneur Michael (Mikhail) Meddox. It was under the leadership of Meddox that the Bolshoi Petrovsky Theater was built according to the project of architect Christian Rosberg in 1776-1789. The theater was named after Petrovka Street, at the beginning of which it stood on a cramped plot, surrounded by chaotic buildings. Read more here.

Sebastian Georges returns to Moscow

In the years 1780-1783. Sebastian Georges, who had left earlier in, St. Petersburg again found himself in, To Moscow where he actively composed and served as bandmaster in. Petrovsky Theater After a long trip to (To Europe 1783-1792), the musician and his family returned to. Russia

The quintet for two flutes, two violins and Georges bass captivates the freedom to use five obligate parts simultaneously. The first movement, full of grace and exquisite melody, keeps traces of the influence of North German composers. The second demonstrates an interesting synthesis of sonata form and post-Baroque polyphonic forms. The ending is stylistically between the works of Boccherini and Viennese composers, but is based on the intonations of Russian dances. Georges' other piece is the Concert Symphony for two flutes, two concert violins, viola and cello and orchestra. It is a modernized version of the baroque concerto grosso, where the features of the already classical symphony and the virtuoso instrumental concerto are mixed. Solo instruments interact mainly in pairs, echoing the tutti of the orchestra. It is also curious that the parts of the symphony are performed without interruption, smoothly flowing into each other, and Adagio, inspired by the "Russian song," is actually an introduction to the witty final rondo.

1781

№	Authors	Title	Comments
1	Vasily Pashkevich	Stingy (comic opera)	1781 on the libretto by Ya. B. Knyazhnin.

1782

№	Authors	Title	Comments
1	Vasily Pashkevich	As you live, so you will be known, or the St. Petersburg Drawing Room (comic opera)	Premiere December 26, 1782. 1st edition 1782 - not preserved, 2nd edition 1792
2	Peter Skokov	La bella Girometta	Opera. 1782.

Ernst Vanjura, Matthias Stabinger and Mikhail Kerzelli in Moscow

The biography of the composer Ernst Vanzhura is of separate interest: Czech by origin, Austrian military, music lover and nugget-clavirist Vanzhur received the post of bandmaster in the town of Shklove from the former favorite of Catherine II Count Semyon Zorich. With the money of Zorich, a theater equipped with the latest technology was built, an excellent orchestra was assembled. In 1779, the noticed Catherine Vanzhura moved to St. Petersburg. Vanjura amazed the court audience with various tricks at the piano (including turning his back to the instrument, playing with his elbows) and playing with Anton Ferdinand Titz in the quartet. Having received the approval of the court for the opening of the theater at the Moscow Educational House, the composer moved to the old capital. It was here that he wrote symphonies on national themes performed by the orchestra of teachers of the Educational House and their students. Around 1782, a witty symphony on the themes of six Russian songs came out of his pen in Moscow. Many years later, in 1798, Vanjura re-corrected, revised and published his symphonies of the early 80s. The publication was the first publication of orchestral symphonies in Russia. But the researcher Pavel Serbin managed to find the Russian Symphony in an early, more successful version of 1782 (a copy of this original "Moscow" version was taken to Europe by the English violinist John Adam Fisher, who performed in Russia in 1784). In the symphony, Vanzhura used the themes of six Russian songs: "What was in the city in Kazan" (I part), "Like our wide court" (II part), "Strawberry berry," "Belolitsa krugolitsa," "Behind the holy gate" and "There is a bird herd at the river" (III part), and the last of the songs was orchestrated by the so-called "Turkish music" (triangle, drum and cymbals).

In the early 1780s, Georges and Vanzhura had a lot of communication in Moscow with Matthias Stabinger, an Italian flutist virtuoso, who, having arrived in Moscow, became the bandmaster of the Petrovsky Theater for some time, replacing Georges in this position. After a short trip to his homeland, Stabinger returned to Moscow, again taking up a post at the Petrovsky Theater, and devoted himself to composing operas and oratorios, many of which have survived. Among the composer's instrumental compositions, three miniature flute concerts written in the first Moscow period for their own performance are especially interesting. The concerto in D major is the best; it is a classic sequence of virtuoso Allegro, a mourning slow part and a cheerful rondo on a theme in the spirit of the Russian "Cossack."

Through the court, the Englishman Medoks, the owner of the Petrovsky Theater in Moscow, achieved the privilege of theatrical activity in the old capital and the closure of the theater, which worked under the leadership of Vanzhura, who was forced to leave for St. Petersburg.

A notable musician of his time in Moscow was the violinist and 'professore del violino "" Mikhail Frantsevich (Johann Michael) Kerzelli. He was one of the four musical sons of Moscow bandmaster Franz Xavier Kerzelli (Körzl), who worked under Razumovsky and Trubetskoy, who moved to Russia from Vienna in 1762. In the late 70s, Mikhail was sent by his father to improve in Vienna, possibly to Haydn. At the same time, another Russian "pensioner" studied in the Austrian capital - Anton Titz, and Kerzelli could well play music with him in the quartet. Upon his return to Moscow, Mikhail, recognized as one of the "best virtuosos here," performed, opened a music school (1783) and trained horn orchestras. In late 1778 - early 1779, Mikhail published duets in Vienna for two violins (dedicated to the diplomat Prince M. Golitsyn) and six quartets for two concert violins, viola and cello. The D minor quartet, painted in gloomy tones, thematically echoes the quartets and manuscript quintets of Anton Titz published in 1781, as well as the quartets of Haydn. A tense, dramatic allegro gives way to a more balanced rondo mood in the spirit of a minuet. The two violins constantly compete with each other; their parties are actually equivalent, which distinguishes the quartets of Mikhail Kerzelli from many works of his contemporaries.

1784: Sarti comes to Russia and succeeds Paisiello as court bandmaster

In 1784, Giuseppe Sarti was invited to replace Paisiello in St. Petersburg as the court bandmaster of Catherine II.

1785: Potemkin's project to create a conservatory in Yekaterinoslav, led by Ivan Khandoshkin

Main article: Potemkin and music

1785, the project of the first Russian conservatory of Grigory Potemkin was dated, who wrote to Catherine: "As in the University of Yekaterinoslav, where not only sciences, but also art are taught, there should be a conservatory for music, I accept the courage of the All-Ukrainian to ask for the dismissal of the court musician Khandoshkin there with a pension for his long-term service and with the awarding of the rank of court coach." The choice of the prince could be dictated by their spiritual similarity with Handoshkin. His music was distinguished by its rare originality, depth of feeling, impulsiveness and asymmetry, which is exactly what Potemkin was. Unfortunately, Ivan Khandoshkin, apparently, did not actually participate in the short history of the Yekaterinoslav Academy of Music (perhaps the project itself was timed to coincide with the empress's trip to southern Russia, which, due to the cholera epidemic, was postponed).

1786: Opera of Catherine II and Evstigney Fomin "Novgorod bogatyr Vasily Boeslaevich"

№	Authors	Title	Comments
1	Catherine II, Fomin Evstigney	Novgorod Bogatyr Vasily Boeslaevich (opera)	Premiere November 27, 1786 in St. Petersburg.

1787

№	Authors	Title	Comments
1	Vasily Karaulov	Three variation cycles	Published in the "Album of Prince Boryatinsky" 1787
2	Dmitry Bortnyansky	Rival Son, or New Stratonic (opera)	Premiere October 11, 1787
3	Евстигней Фомин и Nikolay Lvov	Coachmen on Set, or Toffee by Chance	Opera, 1787

Opera "Fevey" by Catherine II and Vasily Pashkevich

In 1787, on the stage of the Sheremetev Theater in Ostankino, the comic opera Fevey 'libretto was written by Empress Catherine II based on The Tale of Tsarevich Fevey, dedicated in 1782 to her grandson, future ruler Alexander I. The empress endowed Prince Fevey with various virtues and noble features that the ruler of the state should possess.

At the request of the empress, the music for the opera was written by composer Vasily Pashkevich. Riddled with Russian folk melodies and poetic lines by Trediakovsky, the opera became a unique symbiosis of cultural traditions.

'Tsarevich Fevey asks his parents to let him go to other people's lands, but the king and the queen do not want to let the tsarevich go and decide to marry him to the Lydian princess Dana. The princess arrives. The king and queen bless the young and lead them to the crown '.

1788: Eustigneus Fomin's opera "The Americans"

№	Authors	Title	Comments
1	Евстигней Фомин, Ivan Krylov	Americans	Опера, написанная в 1788 г. на либретто 19-летнего Ivan Krylov, and first staged in 1800. Overture - "Concertino," 2001, the rest of the numbers - Orchestra, Bolshoi Theater deer. Vladimir Andropov, 1988

1789

№	Authors	Title	Comments
1	J.B. Knyazhnin, J.Astaritta	"Fake Crazy" (comic opera)	1789

1790: Opera "Initial Management of Oleg"

№	Authors	Title	Comments
1	Dmitry Bortnyansky	Concert Symphony for bassoon, harp, piano, two violins, viola and cello in B flat major	1790
2	Sarti, Kannobio, Pashkevich	Initial management of Oleg	Opera on the libretto of Catherine II. Premiere in October 1790

1792

Born Ivan Rupin

Ivan Alekseevich Rupini (Rupin) (1792-1850) - Russian singer (tenor) and composer, collector and arranger of Russian folk songs.

Josef Fodor arrived in St. Petersburg

Josef Andreas Fodor (niederl. Josephus Andreas Fodor; January 21, 1751, Venlo - October 3 (15), 1828, St. Petersburg) - Dutch violinist and composer of Hungarian origin. Brother of Karel Anton Fodor, father of singer Josephine Fodor.

He studied in Berlin with Franz Benda, then in the 1780s. lived and worked mainly in Paris. In 1792 he arrived in Russia as a violinist of the court orchestra and spent the rest of his life in St. Petersburg until 1828. He wrote at least nine violin concerts, numerous solo pieces, duets, trios, quartets.

Johann Gessler arrives in St. Petersburg

In 1792, the German musician and composer Johann Wilhelm Gessler moved to Petersburg. Two years spent by Gessler in the capital of the Russian Empire were marked by his participation in a number of concerts, performances at the evenings of the Musical Society and composer activities, which now took a different direction: Gessler began to compose 'Russian songs', wrote a cantata on the day of the marriage of Grand Duke Alexander Pavlovich (1794), etc. At the same time, he also taught music.

1794

Gessler moves to Moscow and remains in it until his death

In 1794, the German composer Johann Gessler moved to Moscow, where he became "one of the energetic propagandists of the works of German classics" ^[3]. The nephew of I.H. Kittel, one of the last and most devoted students of I.S. Bach, who knew F.E. Bach, Mozart and Haydn well, pianist, organist and composer, I.V. Gesler gave music lessons in Moscow and performed with concerts. Johann Gesler lived in Moscow until his death in March 29, 1822.

Ignatius Dubrovsky admitted to the First Court Orchestra

Main article: Ignatius Dubrovsky

1795: Sheremetev Manor Theater in Ostankino opened with the opera "The Capture of Ishmael" by Osip Kozlovsky

In 1795, the Sheremetev Manor Theater in Ostankino opened with the opera "The Capture of Izmail" by Osip Kozlovsky, which tells about the assault on the Turkish fortress in 1790 during the Russo-Turkish War.

1796: Fyodor Dubyansky drowned in the Neva

On August 4, 1796, the composer Dubyansky Fyodor Mikhailovich drowned in the Neva.

1797

Vasily Pashkevich died

March 9, 1797 in St. Petersburg died Vasily Alekseevich Pashkevich - Russian composer, conductor, teacher, violinist, singer, one of the creators of the Russian national opera.

№	Authors	Title	Comments
1	Nikolay Nikolaevich Leontiev	Duet for two violins	1797
2	Dmitry Bortnyansky	Evening Dawn	Circa 1797 Music for a military ceremony.

Feuchtner moves to St. Petersburg as accompanist of the First Court Orchestra to replace Titz

Main article: Feuchtner Franz-Adam

The consistently measured life of the German composer Feuchtner in Mitava contributed little to thoughts of change. However, Courland lost its independence in 1795, the Duke left to live his century in Germany, and his employees were out of work. For some time, Feuchtner wondered where to send his feet, perhaps about to move to Italy (according to unconfirmed reports of Grov, he visited there around 1796). But in the end, Feuchtner preferred to move to St. Petersburg, where he ended up at the end of 1797. Feuchtner came to Russia as an experienced, wise musician. Of course, they knew about him in St. Petersburg, otherwise they would hardly have invited the 56-year-old artist to the prestigious place of the court camermusist and accompanist of the first (opera) orchestra (Feuchtner was, apparently, the oldest of all foreign masters ever invited to the royal service).

In St. Petersburg, Feuchtner worked in an atmosphere quite favorable for creativity. It is known that after the death of his mother, Paul the Great sought to remove her close associates from the eyes, which also affected the musicians. The place of the beloved quartet player Catherine August Titz who left for Dresden was taken by Franz Feuchtner.

1798

Born Alexey Lvov

Alexey Fedorovich Lvov was born on May 25 (June 5 in a new style) in 1798 in a wealthy family belonging to the highest Russian aristocracy. His father, Fyodor Petrovich Lvov, was a member of the Council of State. A musically educated person, after the death of D. S. Bortnyansky, he took the post of director of the court Singing Chapel. From him, this position later passed to his son.

Composer Ivan Yunkin

Main article: Yunkin Ivan

Ivan Yunkin is a Russian composer, probably from serfs, who worked at the turn of the 18th-19th centuries. One of his compositions is known - the Cycle "Six Russian Songs with Variations for Two Violins."

Composer Franz Xaver Blima works in Moscow

Blyma Franz Xaver (1770 (born unk.) - con. 1811 or early. 1812 (according to other sources - May 1822), Kyiv) - Russian composer, violinist, conductor. By nationality, Czech. In the 1790s worked in Moscow as bandmaster of the Petrovsky Theater, later - in Volyn in the chapel of Count M. Komburlei.

The comic opera Blim "Ancient Shrines" (1798, post. 1800, Moscow). The libretto was written by A.F. Malinovsky, who worked at MAKID (Moscow Archive of the College of Foreign Affairs). At the end of the 18th century, A.F. Malinovsky himself was known in Moscow society as a prominent playwright and translator of French and German plays. For the Moscow Public Theater (Petrovsky), he translated and then published in separate publications and included in the "Collections of some theatrical works..." (M., 1790) plays by authors L.S. Mercier, Boutier de Monvel and A. Kotzebue, popular in Russia. Since the 1780s, plays in his translation with the assistance of N.P. Sheremetev were staged on the stage of the Moscow theater.

Blim also owns two symphonies - the "Great Symphony" (ed. 1797, Spanish 1799, Moscow), 2nd (ed. 1803) one for Durasov, the other for Alexander the First; violin pieces ("Potpurri" with orc. or. 12; "Song with Variations" for violin and bass or. 10), etc.

1799: Alexey Verstovsky was born

On February 18 (March 1), 1799, Verstovsky Alexei Nikolaevich, a Russian composer and theater figure, was born into a noble family on the Seliverstovo estate (Tambov province).

Researchers

• Gosenpud Abram Akimovich
• Keldysh Yuri (Georgy) Vsevolodovich
• Anna Sergeevna Korndorf
• Mooser Aloise
• Natalia Alekseevna Ogarkova
• Andrey Andreevich Penyugin
• Serbin Pavel Georgievich
• Spiridonov Andrey Alekseevich

Literature

• Musical Petersburg (dictionary)

Performers

Ensembles

• St. Petersburg Baroque Ensemble
• Pratum Integrum
• Soloists of Catherine the Great
• Questa Musica

Baroque singers

Soprano:

• Vera Chekanova
• Elizaveta Sveshnikova
• Julia Hotai
• Elena Gvritishvili
• Liubov Sharomova
• Lyudmila Frayonova

Mezzo-soprano:

• Anastasia Bondareva
• Daria Telyatnikova

Criticism

• Verin-Galitskaya Alena Dmitrievna

Mystifications

• in Goldstein Mikhail Emanuilovich the 1950s, he invented the Ukrainian composer of the 18th century Ovsyanniko-Kulikovsky to popularize his own music. Goldstein is the author of several more "works of Russian classics": an alto concert, Handoshkina sonatas for Borodin's cello, "Leaflet" from Glazunov's album and "Impromptu." Balakireva

Шаблон:XVIII Century Music CD